Lisa Rapoport, “Pedestrian Landscapes: Why do they have to be so pedestrian?”, TSA Newsletter, Winter 2005

Jessica Johnson & Sheree-Lee Olson, “From whimsical wall coverings to questionable couture, we look back at the best and worst of 2004”, Globe and Mail, 1 January 2005
“Plant Architect Inc.'s lovely installation at the 2004 Interior Design Show, called Conversation Piece, reminded us where the heart of the home is. Hint: It's not the media room.”link>

Alex Newman, “A few stars shine at Design Show”, Toronto Star, 19 February 2004“The possibilities for interaction – and for dreaminess – are endless in a place such as this. … Think Chekhov in Muskoka and you get the idea.”

News spot: Superlegible furniture, Fashion Television the Channel, February 2002

2001

Hubert Beringer, Chambres Vertes/Garden Rooms, pp. 28-34, Metis, 2001“Le Jardin du repos follows in the tradition of arranging a garden to provide definite viewpoints, a technique generally reserved for larger-scale projects but here adapted to the domestic scale. Through this game of transposition, it draws visitors’ attention to the potential for relation and sensory pleasures that this variety of viewpoints can bring even in a small space.”

Beth Kapusta, “Urban Offshoots” AZURE, September/October, 2001
“The strength of the design lies in their solid architectural frameworks made to accommodate the desires and habits of the clients, and in their ability to transform and evolve over time.
Both designs bring a refreshingly rigorous approach to the challenge of landscape design combining utility with a sense of poetry. Arcadian notions are quietly displaced by austere modernist lines that take their cues from the urban context. Both gardens can as easily bring the city into the backyard for a good dinner, as they can allow one to escape the city to a quiet, solitary place.”

Rose-Marie Arbour “Festival International de Jardin a Metis” Espace 54. Winter 2000/2001
“Nothing more to do than to touch, feel, enter, walk, listen and even taste. This solicitation of the spectator’s senses and participation was a direct response to the issue of the spectator/work relationship. However, these installations were not only autonomous, expressive and meaningful works, they were also places for the creators to experiment with materials uncommon to architectural landscape projects.”

Dallas Hong “Plant: After Sweet Farm” Trace Four – University of British Columbia Journal,
Summer 2000

Gary Michael Dault, “The Garden as Art” The Globe & Mail, August 12, 2000
“Like any other form of art Le jardin du repos poses and strives to answer some big questions: So what exactly is a domestic scene? What does it really feel like to be private? "We’re simply trying to heighten people’s experiences." Which is what all art tries to do.”

Rachel Rafelman “Hotbeds of Ideas” The National Post, July 22, 2000
“PLANT’s site contains a field of artemisia that blows in the breeze like waves on the river, a chaise longue made of stones and shells, a hay-bale fence and a bench made of stacked firewood, all of which encourage visitors to put their feet up and look for new ways of seeing.”

Lisa Rapoport, “InsideOutside” Book Review, AZURE, March 2000

1998

Nyla Matuk, “Unique Interventions: Gardens of Delight”,Canadian Architect, August 1998“What emerges at Sweet Farm, as in Goldworthy’s work, is a hybrid landscape that negotiates between the raw and the refined.”

Christopher Hume, “Plant Partners Nurture Nature” The Toronto Star, March 7, 1998
“The site then becomes the sum of its history, not a spoiled Eden crying out to be restored to its original glory. PLANT wanted to celebrate the site, not lament its fall from grace. If the planet can’t be healed, at least it can be nursed.”

Pamela Young, “A Private Park Pulls Together” The Globe & Mail, March 7, 1998
“Their interventions are refreshingly unobtrusive. Instead of creating monuments to their own cleverness, the architects have consistently attempted to design structures that enhance one’s appreciation of the landscape and awareness of that landscape’s transitions.”

Virginia Small, “Garden Architecture”, Fine Gardening, May/June 2002
“The strong lines and structural simplicity of this design provide a well-defined framework for the backyard space. A once dreary area now feels intimate and inviting.”

2001

Jane Amidon, Radical Landscapes pp 164-168, 180-181, Thames and Hudson, 2001On Le Jardin du Repos: “The garden is a curated display of hand-crafted moments.
Local materials, distilled and re-presented in über-human proportions, cause visitors to pause and evaluate oft-ignored ingredients of the landscape with a level of attention typically reserved for known objects.”
On The Meadows Revisited: “Focusing on the creation of meaningful dialogue between existing visual and spatial characteristics of the land (many of which are culturally ‘invisible’) and outlying context, location and geologically specific constructs help visitors to understand site conditions?. Simply put, PLANT’s intention is to provide all parties with a different way of looking at and evaluating the infamous urban wetland. The sometimes-jarring juxtaposition of nature with the flotsam of human existence addresses changing notions of economic, aesthetic and public valuation.”

Rebecca Cattano, “All Inclusive Package”, Garden Design Journal, June/July 2002 “The architecture in their large landscapes is visually more subtle, and extremely intense in the small urban gardens. Both are intended to be surprising. The larger projects absorb the interventions – making the discovery a delight. In the small gardens, high detail, layering, transforming materials, reflection and shadows are used to intensify the experience – the subtlety being in discovering change.”

Tim Richardson, “Putting on a Good Show” Country Life UK, August 10, 2000

1999

Tony Hiss, “Increasing the Volume”, Gardens Illustrated, February 1999,
“the senses are sharpened by the perfect balance of artifice and nature.
The sweetness of Sweet farm is that is fully displays the astounding beauty of this landscape. The discreteness of Sweet Farm is the subtle way it blends reverence and ruthlessness, to make us aware of our kinship with a forest that is busy healing itself, and with the generations of people who passed through the woods, using it, abusing it, and then vanishing, leaving it to its own devices.”